Wanda's world has been turned upside down when her teenage daughter Nina suddenly turns up in a hijab. Secretly, Nina has converted to Islam; she exclusively eats halal, strictly observes the prayer times and wishes to be called Fatima. Mother of a liberal Viennese patchwork family, Wanda is appalled; she has always strongly stood against religious fanaticism. However, all attempts to make Nina see reason fail. To make matters worse, Wanda's ex-husband has just fathered a child with his latest wife, and Wanda begins to yearn for a time when her only problems were her daughter's truancy and pot smoking. When she meets Hanife, the mother of Nina's Muslim girlfriend, she finds an ally. Hanife, who immigrated to Austria as a child, is determined to save her daughter from the extremely old-fashioned image of women, which Nina is enthusiastically preaching.
《我们不该在这里》一片以冷峻的笔触勾勒出当代社会中边缘群体的生存困境，导演通过密闭空间中的戏剧张力，将身份认同与人性挣扎的主题推向极致。影片开场便以极具张力的画面语言暗示了主角所处的困局——Zoe与Kennedy驱车驶入森林时，镜头长时间凝视着蜿蜒曲折的道路，苍翠欲滴的枝叶在车窗上投下斑驳阴影，仿佛预示着这段旅程注定被阴霾笼罩。
两位主演的表演堪称教科书级别，尤其是饰演Zoe的演员，将孕期女性特有的敏感与脆弱演绎得丝丝入扣。当她第一次察觉当地人异样的目光时，手指无意识地抚上隆起的腹部，眼神中交织着母性本能与对伴侣的保护欲，这个细节瞬间让角色立体起来。而Kennedy看似坚强的外表下暗涌的焦虑，则通过其频繁整理物品、刻意提高音量等小动作暴露无遗，这种矛盾的性格刻画使人物关系充满真实感。
叙事结构方面，编剧巧妙运用了“屋檐下的陌生人”这一经典设定。原本象征避风港的木屋，随着邻居造访频率的增加，逐渐演变成压迫性的牢笼。每个看似友善的举动背后都藏着锋利的试探，比如那位总带着自制果酱上门的老妇人，她温和的笑容里始终闪烁着审视的意味。这种层层递进的心理惊悚氛围，远比直白的暴力场面更具震慑力。
影片最令人窒息的部分莫过于那些留白的对话场景。当社区代表们围坐在客厅讨论“外来者的影响”时，镜头始终保持着克制的距离，观众只能从角色紧绷的肩膀线条和突然中断的话语中捕捉情绪波动。这种沉默比任何指责都更有力地揭示了偏见如何撕裂着人与人之间的信任纽带。
结尾处那场突如其来的暴雨戏堪称神来之笔。倾盆大雨冲刷着木屋外墙，也冲垮了主角苦心经营的心理防线。Zoe站在窗前凝视雨幕的身影，既像被困住的困兽，又似即将破茧的蝶，最终定格成一幅充满隐喻的画面。此刻银幕前的每个人都不得不思考：所谓“应该”与“不该”，究竟是谁制定的规则？